Sorry for the mistake (number #3 twice lol)
This is POP, you cannot take any of their voice types for granted, it will always be controverse, but I hope my list is at least a bit accurate this time.

published:19 Nov 2016

views:84882

visit her channel https://www.youtube.com/c/julianastrangelove
Amazing performance by JulianaStrangelove. The mentors are shocked, so unusual her voice is. Yes, she is a real woman. After the performance they keep saying there's actually nothing to add, so excellent she is. They ask her why she's shaking and she says she's not used to wearing high heels as she's tall (183 cm). When Juliana hit the stage, there was only one last spot left, and her permormance closed the blind auditions of season 1 of The VoiceRussia.

published:26 Aug 2013

views:201715

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
Here is the third list of women who are Contralto singers/vocalist. Of course they are wonderful singers who can break down monuments with their smooth , powerful or dark tone and timbre.
This is Part 3.
A few mentions: Patti Page, JoyceBerry, Timi Yuro, Doris Day, DebbieSims, Rosemary Clooney and Toni Tennille from Captain & Tennille
(I own none of these clips, This is just a compilation of great Contralto singer/vocalists)

Keyword for a Contralto: Androgynous tone throughout the entire voice, not just the lower register.
"A true Contralto experiences similar register changes as a Bass. Some of the common characteristics of the Contralto include (1) long chest register extension in the low range, (2) need for larger expansion of the pharyngeal space in the middle register in order to phonate fully, (3) a unique dark smoky color in the middle and chest registers, (4) use of chest register higher in pitch than many other voice types, (5) short middle register, (6) overly bright upper register or disconnected head voice, and (7) tongue tension in the middle and chest registers, accompanied by a thicker function of the vocal folds."

100% genetic no exceptions it's impossible to use your voice to sing anything other than what you were born with she really rings on that high B definitely a light lyric tenor voice http://www.youcansinganything.com
Donate $1 or $2 via Paypal: https://www.paypal.me/youcansinganything
Sign up for a lesson: http://www.meetme.so/youcansinganything
Snapchat: tristanparedes
Snapchat: tristanparedes
Singing Discord: https://discord.gg/yuQMWKe
https://www.facebook.com/youcansinganything
https://www.patreon.com/tristanparedes

published:07 May 2017

views:7538

My opinion about the Contralto's Fach in pop
I don't own any of the content in these video
Vocal Fach playlist: https://www.youtube.com/watch?v=Md2XTnqPHuE&list=PLFsE6FveEoQgHPmpv64HDbBDYLlZeP2eI

published:15 Mar 2016

views:50651

Are you a SOPRANO, MEZZO, or ALTO? Girls can find their voice classification by doing this simple test.
NEW Website
http://verbavocal.com
Become a Patron
https://www.patreon.com/verba
Social Channels
https://www.facebook.com/verbalessons/
https://twitter.com/VerbaLessons
https://www.instagram.com/verba_vocal_technique
Other YouTube Channels
https://www.youtube.com/c/EnglishLikeANative
https://www.youtube.com/user/annatyrie

published:24 Apr 2017

views:67217

published:24 Oct 2014

views:16135

From Contralto to Ultraleggero Soprano.
You can find me on facebook: facebook.com/FunVocalRange

published:04 Jun 2012

views:162688

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
This is Part 4. Here is a list of great Contralto singers you probably missed, such as:
Alohe Jean Burke
Ruth PointerMichelleNdegeocelloEvelyn KingBrenda Russell

Human voice

The human voice consists of soundmade by a human being using the vocal folds for talking, singing, laughing, crying, screaming etc. The human voice is specifically a part of human sound production in which the vocal folds (vocal cords) are the primary sound source. Generally speaking, the mechanism for generating the human voice can be subdivided into three parts; the lungs, the vocal folds within the larynx, and the articulators. The lung (the pump) must produce adequate airflow and air pressure to vibrate vocal folds (this air pressure is the fuel of the voice). The vocal folds (vocal cords) are a vibrating valve that chops up the airflow from the lungs into audible pulses that form the laryngeal sound source. The muscles of the larynx adjust the length and tension of the vocal folds to ‘fine-tune’ pitch and tone. The articulators (the parts of the vocal tract above the larynx consisting of tongue, palate, cheek, lips, etc.) articulate and filter the sound emanating from the larynx and to some degree can interact with the laryngeal airflow to strengthen it or weaken it as a sound source.

Formation and original era

My Favorite formed in Long Island in the early 1990s, and eventually migrated to the New York City boroughs of Brooklyn and Queens. The original lineup consisted of founder and principal songwriter Michael Grace Jr., vocalist Andrea Vaughn, guitarist Darren Amadio, bassist Gil Abad and drummer Todd "Todbot" Karasik.

Covent Garden

Covent Garden (/ˈkɒvənt/) is a district in London on the eastern fringes of the West End, between St. Martin's Lane and Drury Lane. It is associated with the former fruit and vegetable market in the central square, now a popular shopping and tourist site, and the Royal Opera House, which is also known as "Covent Garden". The district is divided by the main thoroughfare of Long Acre, north of which is given over to independent shops centred on Neal's Yard and Seven Dials, while the south contains the central square with its street performers and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum.

TOP 15 Contralto Voices In Non Operatic Music

Sorry for the mistake (number #3 twice lol)
This is POP, you cannot take any of their voice types for granted, it will always be controverse, but I hope my list is at least a bit accurate this time.

5:01

The Voice Russia. Juliana Strangelove. Contralto.

The Voice Russia. Juliana Strangelove. Contralto.

The Voice Russia. Juliana Strangelove. Contralto.

visit her channel https://www.youtube.com/c/julianastrangelove
Amazing performance by JulianaStrangelove. The mentors are shocked, so unusual her voice is. Yes, she is a real woman. After the performance they keep saying there's actually nothing to add, so excellent she is. They ask her why she's shaking and she says she's not used to wearing high heels as she's tall (183 cm). When Juliana hit the stage, there was only one last spot left, and her permormance closed the blind auditions of season 1 of The VoiceRussia.

7:33

My Favorite Contralto Voices: White Female Pop Singers

My Favorite Contralto Voices: White Female Pop Singers

My Favorite Contralto Voices: White Female Pop Singers

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
Here is the third list of women who are Contralto singers/vocalist. Of course they are wonderful singers who can break down monuments with their smooth , powerful or dark tone and timbre.
This is Part 3.
A few mentions: Patti Page, JoyceBerry, Timi Yuro, Doris Day, DebbieSims, Rosemary Clooney and Toni Tennille from Captain & Tennille
(I own none of these clips, This is just a compilation of great Contralto singer/vocalists)

Contralto are not Altos!

Keyword for a Contralto: Androgynous tone throughout the entire voice, not just the lower register.
"A true Contralto experiences similar register changes as a Bass. Some of the common characteristics of the Contralto include (1) long chest register extension in the low range, (2) need for larger expansion of the pharyngeal space in the middle register in order to phonate fully, (3) a unique dark smoky color in the middle and chest registers, (4) use of chest register higher in pitch than many other voice types, (5) short middle register, (6) overly bright upper register or disconnected head voice, and (7) tongue tension in the middle and chest registers, accompanied by a thicker function of the vocal folds."

Female Voices in Pop Music - Contralto

16 Year Old Contralto PROVES That Classical Voice Fach Exists

100% genetic no exceptions it's impossible to use your voice to sing anything other than what you were born with she really rings on that high B definitely a light lyric tenor voice http://www.youcansinganything.com
Donate $1 or $2 via Paypal: https://www.paypal.me/youcansinganything
Sign up for a lesson: http://www.meetme.so/youcansinganything
Snapchat: tristanparedes
Snapchat: tristanparedes
Singing Discord: https://discord.gg/yuQMWKe
https://www.facebook.com/youcansinganything
https://www.patreon.com/tristanparedes

3:28

Female Vocal Fach in Pop - Contralto

Female Vocal Fach in Pop - Contralto

Female Vocal Fach in Pop - Contralto

My opinion about the Contralto's Fach in pop
I don't own any of the content in these video
Vocal Fach playlist: https://www.youtube.com/watch?v=Md2XTnqPHuE&list=PLFsE6FveEoQgHPmpv64HDbBDYLlZeP2eI

3:00

Female Voice Classification - Are you a SOPRANO, MEZZO or ALTO singer?

Female Voice Classification - Are you a SOPRANO, MEZZO or ALTO singer?

Female Voice Classification - Are you a SOPRANO, MEZZO or ALTO singer?

Are you a SOPRANO, MEZZO, or ALTO? Girls can find their voice classification by doing this simple test.
NEW Website
http://verbavocal.com
Become a Patron
https://www.patreon.com/verba
Social Channels
https://www.facebook.com/verbalessons/
https://twitter.com/VerbaLessons
https://www.instagram.com/verba_vocal_technique
Other YouTube Channels
https://www.youtube.com/c/EnglishLikeANative
https://www.youtube.com/user/annatyrie

2:17

REGISTROS VOCALES - 3 CONTRALTO

REGISTROS VOCALES - 3 CONTRALTO

REGISTROS VOCALES - 3 CONTRALTO

4:56

Female Voice Types

Female Voice Types

Female Voice Types

From Contralto to Ultraleggero Soprano.
You can find me on facebook: facebook.com/FunVocalRange

6:03

My Favorite Contralto Voices: Ladies of Soul and R&B

My Favorite Contralto Voices: Ladies of Soul and R&B

My Favorite Contralto Voices: Ladies of Soul and R&B

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
This is Part 4. Here is a list of great Contralto singers you probably missed, such as:
Alohe Jean Burke
Ruth PointerMichelleNdegeocelloEvelyn KingBrenda Russell

4:14

The Greatest Operatic Contralto/ or mezzo on record Louise Kirkby Lunn

The Greatest Operatic Contralto/ or mezzo on record Louise Kirkby Lunn

The Greatest Operatic Contralto/ or mezzo on record Louise Kirkby Lunn

From Cantabile-Subito
Louise Kirkby Lunn "She was born in Manchester and studied with J.H.Greenwood, afterwards with AlbertoAntonio Visetti in London. Further studies with the renowned Jacques Bouhy in Paris (Louise Homer was also a student of him). She made her early debut as Margaretha in Schumann’s Genoveva at the Drury Lane Theatre in London. Later she appeared in Délibes’ Le Roi l’a dit (!). She considered her real debut as Nora in CharlesStandford’s opera Shamus O’Brien. She also sang at the HarrisOperaTheatre and at the Carl Rosa Opera Company.
From the very beginning she loved to sing on the concert platform. After her marriage in 1899 she had planned to terminate her career, but in 1901 she continued singing and signed a contract with Covent Garden. She was an important member at this famous opera house until 1914 (and again in the season 1921/22). She participated in some first opera performances: Massenet’s Hérodiade, Saint-Saëns’ Hélène and Gluck’s Armide. In 1902 she was invited to the Metropolitan where she debuted as Ortrud. Within the next two years she also sang Brangäne and Amneris. She toured America in 1904 where she was heard as Kundry (first performances of the opera in English) and this role was one of her greatest achievements. She created the role of Dalila in Saint-Saëns’ opera Samson et Dalila in the first English performance at Covent Garden. Despite her great success on stage she made many concert appearances and she became even more popular on the concert platform than in opera.
She became THE great British oratorio contralto besides Dame Clara Butt. She was not only heard at the festivals of Birmingham, Sheffield and Norwich but also toured widely (USA, Australia and New Zealand). Her last opera appearance (as Amneris) took place in 1922 at Covent Garden. She continued to give concerts and recitals. At the end of her career she became a renowned singing coach."
“A singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver all the years I worked with her, and who never sang out of tune. Her Brangäne at Covent Garden, her fine acting and singing as Kundry in America, and a marvellous rendering of Isolde’s Liebestod ... are among my most cherished memories of her”
Sir Henry Wood, conductor

1:53

"Hallelujah" Alto + Soprano, a capella

"Hallelujah" Alto + Soprano, a capella

"Hallelujah" Alto + Soprano, a capella

Social media:
My instagram + twitter are both _inclinations_ and I also run inclinations.co. My photography instagram is catherinecline.photography. Enjoy the video!

TOP 15 Contralto Voices In Non Operatic Music

Sorry for the mistake (number #3 twice lol)
This is POP, you cannot take any of their voice types for granted, it will always be controverse, but I hope my list is at least a bit accurate this time.

published: 19 Nov 2016

The Voice Russia. Juliana Strangelove. Contralto.

visit her channel https://www.youtube.com/c/julianastrangelove
Amazing performance by JulianaStrangelove. The mentors are shocked, so unusual her voice is. Yes, she is a real woman. After the performance they keep saying there's actually nothing to add, so excellent she is. They ask her why she's shaking and she says she's not used to wearing high heels as she's tall (183 cm). When Juliana hit the stage, there was only one last spot left, and her permormance closed the blind auditions of season 1 of The VoiceRussia.

published: 26 Aug 2013

My Favorite Contralto Voices: White Female Pop Singers

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
Here is the third list of women who are Contralto singers/vocalist. Of course they are wonderful singers who can break down monuments with their smooth , powerful or dark tone and timbre.
This is Part 3.
A few mentions: Patti Page, JoyceBerry, Timi Yuro, Doris Day, DebbieSims, Rosemary Clooney and Toni Tennille from Captain & Tennille
(I own none of these clips, This is ju...

Contralto are not Altos!

Keyword for a Contralto: Androgynous tone throughout the entire voice, not just the lower register.
"A true Contralto experiences similar register changes as a Bass. Some of the common characteristics of the Contralto include (1) long chest register extension in the low range, (2) need for larger expansion of the pharyngeal space in the middle register in order to phonate fully, (3) a unique dark smoky color in the middle and chest registers, (4) use of chest register higher in pitch than many other voice types, (5) short middle register, (6) overly bright upper register or disconnected head voice, and (7) tongue tension in the middle and chest registers, accompanied by a thicker function of the vocal folds."

published: 12 Jul 2016

Female Voices in Pop Music - Contralto

16 Year Old Contralto PROVES That Classical Voice Fach Exists

100% genetic no exceptions it's impossible to use your voice to sing anything other than what you were born with she really rings on that high B definitely a light lyric tenor voice http://www.youcansinganything.com
Donate $1 or $2 via Paypal: https://www.paypal.me/youcansinganything
Sign up for a lesson: http://www.meetme.so/youcansinganything
Snapchat: tristanparedes
Snapchat: tristanparedes
Singing Discord: https://discord.gg/yuQMWKe
https://www.facebook.com/youcansinganything
https://www.patreon.com/tristanparedes

published: 07 May 2017

Female Vocal Fach in Pop - Contralto

My opinion about the Contralto's Fach in pop
I don't own any of the content in these video
Vocal Fach playlist: https://www.youtube.com/watch?v=Md2XTnqPHuE&list=PLFsE6FveEoQgHPmpv64HDbBDYLlZeP2eI

published: 15 Mar 2016

Female Voice Classification - Are you a SOPRANO, MEZZO or ALTO singer?

Are you a SOPRANO, MEZZO, or ALTO? Girls can find their voice classification by doing this simple test.
NEW Website
http://verbavocal.com
Become a Patron
https://www.patreon.com/verba
Social Channels
https://www.facebook.com/verbalessons/
https://twitter.com/VerbaLessons
https://www.instagram.com/verba_vocal_technique
Other YouTube Channels
https://www.youtube.com/c/EnglishLikeANative
https://www.youtube.com/user/annatyrie

published: 24 Apr 2017

REGISTROS VOCALES - 3 CONTRALTO

published: 24 Oct 2014

Female Voice Types

From Contralto to Ultraleggero Soprano.
You can find me on facebook: facebook.com/FunVocalRange

published: 04 Jun 2012

My Favorite Contralto Voices: Ladies of Soul and R&B

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
This is Part 4. Here is a list of great Contralto singers you probably missed, such as:
Alohe Jean Burke
Ruth PointerMichelleNdegeocelloEvelyn KingBrenda Russell

published: 04 Jul 2016

The Greatest Operatic Contralto/ or mezzo on record Louise Kirkby Lunn

The Voice Russia. Juliana Strangelove. Contralto.

visit her channel https://www.youtube.com/c/julianastrangelove
Amazing performance by JulianaStrangelove. The mentors are shocked, so unusual her voice is. Yes...

visit her channel https://www.youtube.com/c/julianastrangelove
Amazing performance by JulianaStrangelove. The mentors are shocked, so unusual her voice is. Yes, she is a real woman. After the performance they keep saying there's actually nothing to add, so excellent she is. They ask her why she's shaking and she says she's not used to wearing high heels as she's tall (183 cm). When Juliana hit the stage, there was only one last spot left, and her permormance closed the blind auditions of season 1 of The VoiceRussia.

visit her channel https://www.youtube.com/c/julianastrangelove
Amazing performance by JulianaStrangelove. The mentors are shocked, so unusual her voice is. Yes, she is a real woman. After the performance they keep saying there's actually nothing to add, so excellent she is. They ask her why she's shaking and she says she's not used to wearing high heels as she's tall (183 cm). When Juliana hit the stage, there was only one last spot left, and her permormance closed the blind auditions of season 1 of The VoiceRussia.

My Favorite Contralto Voices: White Female Pop Singers

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a h...

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
Here is the third list of women who are Contralto singers/vocalist. Of course they are wonderful singers who can break down monuments with their smooth , powerful or dark tone and timbre.
This is Part 3.
A few mentions: Patti Page, JoyceBerry, Timi Yuro, Doris Day, DebbieSims, Rosemary Clooney and Toni Tennille from Captain & Tennille
(I own none of these clips, This is just a compilation of great Contralto singer/vocalists)

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
Here is the third list of women who are Contralto singers/vocalist. Of course they are wonderful singers who can break down monuments with their smooth , powerful or dark tone and timbre.
This is Part 3.
A few mentions: Patti Page, JoyceBerry, Timi Yuro, Doris Day, DebbieSims, Rosemary Clooney and Toni Tennille from Captain & Tennille
(I own none of these clips, This is just a compilation of great Contralto singer/vocalists)

Contralto are not Altos!

Keyword for a Contralto: Androgynous tone throughout the entire voice, not just the lower register.
"A true Contralto experiences similar register changes as a ...

Keyword for a Contralto: Androgynous tone throughout the entire voice, not just the lower register.
"A true Contralto experiences similar register changes as a Bass. Some of the common characteristics of the Contralto include (1) long chest register extension in the low range, (2) need for larger expansion of the pharyngeal space in the middle register in order to phonate fully, (3) a unique dark smoky color in the middle and chest registers, (4) use of chest register higher in pitch than many other voice types, (5) short middle register, (6) overly bright upper register or disconnected head voice, and (7) tongue tension in the middle and chest registers, accompanied by a thicker function of the vocal folds."

Keyword for a Contralto: Androgynous tone throughout the entire voice, not just the lower register.
"A true Contralto experiences similar register changes as a Bass. Some of the common characteristics of the Contralto include (1) long chest register extension in the low range, (2) need for larger expansion of the pharyngeal space in the middle register in order to phonate fully, (3) a unique dark smoky color in the middle and chest registers, (4) use of chest register higher in pitch than many other voice types, (5) short middle register, (6) overly bright upper register or disconnected head voice, and (7) tongue tension in the middle and chest registers, accompanied by a thicker function of the vocal folds."

16 Year Old Contralto PROVES That Classical Voice Fach Exists

100% genetic no exceptions it's impossible to use your voice to sing anything other than what you were born with she really rings on that high B definitely a li...

100% genetic no exceptions it's impossible to use your voice to sing anything other than what you were born with she really rings on that high B definitely a light lyric tenor voice http://www.youcansinganything.com
Donate $1 or $2 via Paypal: https://www.paypal.me/youcansinganything
Sign up for a lesson: http://www.meetme.so/youcansinganything
Snapchat: tristanparedes
Snapchat: tristanparedes
Singing Discord: https://discord.gg/yuQMWKe
https://www.facebook.com/youcansinganything
https://www.patreon.com/tristanparedes

100% genetic no exceptions it's impossible to use your voice to sing anything other than what you were born with she really rings on that high B definitely a light lyric tenor voice http://www.youcansinganything.com
Donate $1 or $2 via Paypal: https://www.paypal.me/youcansinganything
Sign up for a lesson: http://www.meetme.so/youcansinganything
Snapchat: tristanparedes
Snapchat: tristanparedes
Singing Discord: https://discord.gg/yuQMWKe
https://www.facebook.com/youcansinganything
https://www.patreon.com/tristanparedes

Female Voice Classification - Are you a SOPRANO, MEZZO or ALTO singer?

Are you a SOPRANO, MEZZO, or ALTO? Girls can find their voice classification by doing this simple test.
NEW Website
http://verbavocal.com
Become a Patron...

Are you a SOPRANO, MEZZO, or ALTO? Girls can find their voice classification by doing this simple test.
NEW Website
http://verbavocal.com
Become a Patron
https://www.patreon.com/verba
Social Channels
https://www.facebook.com/verbalessons/
https://twitter.com/VerbaLessons
https://www.instagram.com/verba_vocal_technique
Other YouTube Channels
https://www.youtube.com/c/EnglishLikeANative
https://www.youtube.com/user/annatyrie

Are you a SOPRANO, MEZZO, or ALTO? Girls can find their voice classification by doing this simple test.
NEW Website
http://verbavocal.com
Become a Patron
https://www.patreon.com/verba
Social Channels
https://www.facebook.com/verbalessons/
https://twitter.com/VerbaLessons
https://www.instagram.com/verba_vocal_technique
Other YouTube Channels
https://www.youtube.com/c/EnglishLikeANative
https://www.youtube.com/user/annatyrie

My Favorite Contralto Voices: Ladies of Soul and R&B

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a h...

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
This is Part 4. Here is a list of great Contralto singers you probably missed, such as:
Alohe Jean Burke
Ruth PointerMichelleNdegeocelloEvelyn KingBrenda Russell

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
This is Part 4. Here is a list of great Contralto singers you probably missed, such as:
Alohe Jean Burke
Ruth PointerMichelleNdegeocelloEvelyn KingBrenda Russell

published:04 Jul 2016

views:5341

back

The Greatest Operatic Contralto/ or mezzo on record Louise Kirkby Lunn

From Cantabile-Subito
Louise Kirkby Lunn "She was born in Manchester and studied with J.H.Greenwood, afterwards with AlbertoAntonio Visetti in London. Further studies with the renowned Jacques Bouhy in Paris (Louise Homer was also a student of him). She made her early debut as Margaretha in Schumann’s Genoveva at the Drury Lane Theatre in London. Later she appeared in Délibes’ Le Roi l’a dit (!). She considered her real debut as Nora in CharlesStandford’s opera Shamus O’Brien. She also sang at the HarrisOperaTheatre and at the Carl Rosa Opera Company.
From the very beginning she loved to sing on the concert platform. After her marriage in 1899 she had planned to terminate her career, but in 1901 she continued singing and signed a contract with Covent Garden. She was an important member at this famous opera house until 1914 (and again in the season 1921/22). She participated in some first opera performances: Massenet’s Hérodiade, Saint-Saëns’ Hélène and Gluck’s Armide. In 1902 she was invited to the Metropolitan where she debuted as Ortrud. Within the next two years she also sang Brangäne and Amneris. She toured America in 1904 where she was heard as Kundry (first performances of the opera in English) and this role was one of her greatest achievements. She created the role of Dalila in Saint-Saëns’ opera Samson et Dalila in the first English performance at Covent Garden. Despite her great success on stage she made many concert appearances and she became even more popular on the concert platform than in opera.
She became THE great British oratorio contralto besides Dame Clara Butt. She was not only heard at the festivals of Birmingham, Sheffield and Norwich but also toured widely (USA, Australia and New Zealand). Her last opera appearance (as Amneris) took place in 1922 at Covent Garden. She continued to give concerts and recitals. At the end of her career she became a renowned singing coach."
“A singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver all the years I worked with her, and who never sang out of tune. Her Brangäne at Covent Garden, her fine acting and singing as Kundry in America, and a marvellous rendering of Isolde’s Liebestod ... are among my most cherished memories of her”
Sir Henry Wood, conductor

From Cantabile-Subito
Louise Kirkby Lunn "She was born in Manchester and studied with J.H.Greenwood, afterwards with AlbertoAntonio Visetti in London. Further studies with the renowned Jacques Bouhy in Paris (Louise Homer was also a student of him). She made her early debut as Margaretha in Schumann’s Genoveva at the Drury Lane Theatre in London. Later she appeared in Délibes’ Le Roi l’a dit (!). She considered her real debut as Nora in CharlesStandford’s opera Shamus O’Brien. She also sang at the HarrisOperaTheatre and at the Carl Rosa Opera Company.
From the very beginning she loved to sing on the concert platform. After her marriage in 1899 she had planned to terminate her career, but in 1901 she continued singing and signed a contract with Covent Garden. She was an important member at this famous opera house until 1914 (and again in the season 1921/22). She participated in some first opera performances: Massenet’s Hérodiade, Saint-Saëns’ Hélène and Gluck’s Armide. In 1902 she was invited to the Metropolitan where she debuted as Ortrud. Within the next two years she also sang Brangäne and Amneris. She toured America in 1904 where she was heard as Kundry (first performances of the opera in English) and this role was one of her greatest achievements. She created the role of Dalila in Saint-Saëns’ opera Samson et Dalila in the first English performance at Covent Garden. Despite her great success on stage she made many concert appearances and she became even more popular on the concert platform than in opera.
She became THE great British oratorio contralto besides Dame Clara Butt. She was not only heard at the festivals of Birmingham, Sheffield and Norwich but also toured widely (USA, Australia and New Zealand). Her last opera appearance (as Amneris) took place in 1922 at Covent Garden. She continued to give concerts and recitals. At the end of her career she became a renowned singing coach."
“A singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver all the years I worked with her, and who never sang out of tune. Her Brangäne at Covent Garden, her fine acting and singing as Kundry in America, and a marvellous rendering of Isolde’s Liebestod ... are among my most cherished memories of her”
Sir Henry Wood, conductor

Warm-ups for Mezzo/Alto

Take lessons from me or find a reputable teacher in your area!
http://www.nats.org/cgi/page.cgi/_membership.html/68877-Karmyn-Tyler-Cobb
Book A Lesson with Karmyn
https://karmyn.youcanbook.me
UPDATE - Time Code for each exercises below!
DISCLAIMER:
This is a basic vocal exercise series. It is not a beginner's exercise series.
All examples are in the soprano/alto range.
Ideally, a teacher would assess where your voice is at and give exercises accordingly. I have, however, been asked to put together a regimen of standard exercises that I use in my studio for current students. These 10 exercises are a small compilation of years of training and over 15 years of teaching voice. In particular, these exercises stem from study and guidance from my voice teacher Bill Bauer, of Dallas Texas. H...

Vocal Androgyny in Speech and Singing

Originally recorded in 2011 for PracticalAndrogyny.com an ambiguous gender presentation resources site.
Nat talks about how to develop a more androgynous, ambiguous or gender neutral speaking and singing voice, assuming nothing about how you identify or whether your voice has been affected by testosterone.
Accompanying blog post with video summary, links to all singers and songs featured, bonus material, additional recommended singers and links to external resources available at:
http://practicalandrogyny.com/2011/10/31/vocal-androgyny-in-speech-and-singing/
Comments are welcome at PracticalAndrogyny.com but are heavily screened and moderated - I have a zero tolerance approach to 'debates' about whether people like me exist or deserve basic respect and recognition.
Originally hosted a...

published: 16 Apr 2017

My Interview with Contralto, Bonita Hyman

Yes, I did film this entire interview hand-held, which lead to some really weird angles. Regardless, I am still very pleased and delighted to have caught up with this amazing and warm-hearted contralto, Madame Bonita Hyman! Enjoy the interview and let me know what you think of her as well.
Please don't forget to support me on Patreon and Steemit. Thank you very much!
https://www.patreon.com/antonireviewsoperaandmanyotherstuff
https://steemit.com/@antonireviews

Husky Madonna Can't Express Himself 3 10 18 at 10 56 PM

A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity.
Farinelli (Italian pronunciation: [fariˈnɛlːi]) (24 January 1705 – 16 September 1782[1]), was the stage name of Carlo Maria Michelangelo Nicola Broschi (pronounced [ˈkarlo ˈbrɔski]), celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera.[2] Farinelli has been described as having soprano vocal range and sang the highest note customary at the time, C6.
This may seem to anticipate the safe, sexless allure of 1950s teen idols like Frankie...

Warm-ups for Mezzo/Alto

Take lessons from me or find a reputable teacher in your area!
http://www.nats.org/cgi/page.cgi/_membership.html/68877-Karmyn-Tyler-Cobb
Book A Lesson with Kar...

Take lessons from me or find a reputable teacher in your area!
http://www.nats.org/cgi/page.cgi/_membership.html/68877-Karmyn-Tyler-Cobb
Book A Lesson with Karmyn
https://karmyn.youcanbook.me
UPDATE - Time Code for each exercises below!
DISCLAIMER:
This is a basic vocal exercise series. It is not a beginner's exercise series.
All examples are in the soprano/alto range.
Ideally, a teacher would assess where your voice is at and give exercises accordingly. I have, however, been asked to put together a regimen of standard exercises that I use in my studio for current students. These 10 exercises are a small compilation of years of training and over 15 years of teaching voice. In particular, these exercises stem from study and guidance from my voice teacher Bill Bauer, of Dallas Texas. He is, in a word, genius!
If you are a soprano/tenor and the exercises feel high, simply go to the alto/baritone-bass exercises and begin from there. You will eventually stretch easily to your upper range. The range I recorded is modest.
To contact me, please go to: https://ktvocalstudio.com/contact/
If you would like to purchase an mp3 along with the sheet music for this basic exercise, you may do so by going here: https://ktvocalstudio.com/classes/youtube-warm-ups/
Time Code:
0:06 Bubbles
2:24 Kiu exercises
4:50 Ning
7:23 Nay
9:55 Moi
11:44 Mah
13:33 Goog
15:09 Gug
16:46 Nyea
18:07 Hung/Young
Why spend the money to take vocal lessons?
You are not only paying for the education and experience of the teacher, but the ears. A trained teacher (NOT coach) should be able to hear and assess your personal issue and lead you on a path to fix and balance your voice!
I HIGHLY recommend a NATS approved vocal teacher!
http://www.nats.org/cgi/page.cgi/find_teacher.html

Take lessons from me or find a reputable teacher in your area!
http://www.nats.org/cgi/page.cgi/_membership.html/68877-Karmyn-Tyler-Cobb
Book A Lesson with Karmyn
https://karmyn.youcanbook.me
UPDATE - Time Code for each exercises below!
DISCLAIMER:
This is a basic vocal exercise series. It is not a beginner's exercise series.
All examples are in the soprano/alto range.
Ideally, a teacher would assess where your voice is at and give exercises accordingly. I have, however, been asked to put together a regimen of standard exercises that I use in my studio for current students. These 10 exercises are a small compilation of years of training and over 15 years of teaching voice. In particular, these exercises stem from study and guidance from my voice teacher Bill Bauer, of Dallas Texas. He is, in a word, genius!
If you are a soprano/tenor and the exercises feel high, simply go to the alto/baritone-bass exercises and begin from there. You will eventually stretch easily to your upper range. The range I recorded is modest.
To contact me, please go to: https://ktvocalstudio.com/contact/
If you would like to purchase an mp3 along with the sheet music for this basic exercise, you may do so by going here: https://ktvocalstudio.com/classes/youtube-warm-ups/
Time Code:
0:06 Bubbles
2:24 Kiu exercises
4:50 Ning
7:23 Nay
9:55 Moi
11:44 Mah
13:33 Goog
15:09 Gug
16:46 Nyea
18:07 Hung/Young
Why spend the money to take vocal lessons?
You are not only paying for the education and experience of the teacher, but the ears. A trained teacher (NOT coach) should be able to hear and assess your personal issue and lead you on a path to fix and balance your voice!
I HIGHLY recommend a NATS approved vocal teacher!
http://www.nats.org/cgi/page.cgi/find_teacher.html

Vocal Androgyny in Speech and Singing

Originally recorded in 2011 for PracticalAndrogyny.com an ambiguous gender presentation resources site.
Nat talks about how to develop a more androgynous, ambi...

Originally recorded in 2011 for PracticalAndrogyny.com an ambiguous gender presentation resources site.
Nat talks about how to develop a more androgynous, ambiguous or gender neutral speaking and singing voice, assuming nothing about how you identify or whether your voice has been affected by testosterone.
Accompanying blog post with video summary, links to all singers and songs featured, bonus material, additional recommended singers and links to external resources available at:
http://practicalandrogyny.com/2011/10/31/vocal-androgyny-in-speech-and-singing/
Comments are welcome at PracticalAndrogyny.com but are heavily screened and moderated - I have a zero tolerance approach to 'debates' about whether people like me exist or deserve basic respect and recognition.
Originally hosted at https://www.dailymotion.com/video/xm1iil_practical-androgyny-vocal-androgyny-in-speech-and-singing_lifestyle

Originally recorded in 2011 for PracticalAndrogyny.com an ambiguous gender presentation resources site.
Nat talks about how to develop a more androgynous, ambiguous or gender neutral speaking and singing voice, assuming nothing about how you identify or whether your voice has been affected by testosterone.
Accompanying blog post with video summary, links to all singers and songs featured, bonus material, additional recommended singers and links to external resources available at:
http://practicalandrogyny.com/2011/10/31/vocal-androgyny-in-speech-and-singing/
Comments are welcome at PracticalAndrogyny.com but are heavily screened and moderated - I have a zero tolerance approach to 'debates' about whether people like me exist or deserve basic respect and recognition.
Originally hosted at https://www.dailymotion.com/video/xm1iil_practical-androgyny-vocal-androgyny-in-speech-and-singing_lifestyle

My Interview with Contralto, Bonita Hyman

Yes, I did film this entire interview hand-held, which lead to some really weird angles. Regardless, I am still very pleased and delighted to have caught up wit...

Yes, I did film this entire interview hand-held, which lead to some really weird angles. Regardless, I am still very pleased and delighted to have caught up with this amazing and warm-hearted contralto, Madame Bonita Hyman! Enjoy the interview and let me know what you think of her as well.
Please don't forget to support me on Patreon and Steemit. Thank you very much!
https://www.patreon.com/antonireviewsoperaandmanyotherstuff
https://steemit.com/@antonireviews

Yes, I did film this entire interview hand-held, which lead to some really weird angles. Regardless, I am still very pleased and delighted to have caught up with this amazing and warm-hearted contralto, Madame Bonita Hyman! Enjoy the interview and let me know what you think of her as well.
Please don't forget to support me on Patreon and Steemit. Thank you very much!
https://www.patreon.com/antonireviewsoperaandmanyotherstuff
https://steemit.com/@antonireviews

- Composer: Gustav Mahler (7 July 1860 -- 18 May 1911)
- Orchestra: LondonPhilharmonic Orchestra
- Conductor: Wyn Morris
- Soloists: Geraint Evans (baritone), Janet Baker (contralto)
- Year of recording: 1966
Des Knaben Wunderhorn [The Youth's Magic Horn], song cycle for voice & piano (or orchestra), composed between 1892-1905.
00:00 - 1. Revelge
06:16 - 2. Rheinlegendchen
09:19 - 3. Lied Des Verfolgten Im Turm
13:07 - 4. Wer Hat Dies Liedlein Erdacht
15:08 - 5. Lob Des Hohen Verstandes
17:32 - 6. Der Schildwache Nachtlied
23:16 - 7. Wo Die Schönen Trompeten Blasen
29:25 - 8. Trost Im Unglück
31:45 - 9. Des Antonius Von Padua Fischpredigt
35:49 - 10. Verlor'ne Müh'
38:07 - 11. Das Irdische Leben
41:22 - 12. Der Tamboursg'sell
This collection of songs is the culmination of Mahler's many settings from Das Knaben Wunderhorn (The Young Boy's MagicHorn), a collection of German Folk Poetry. They are usually performed as a set, often also including the two later Wunderhorn songs, "Revelge" and "Der Tamboursg'sell", since their poetic origin and performance requirements are so similar. There is no cyclical connection or sequence to the songs -- they stand alone, each having its own unique affect, scoring, and conception. Representing Mahler's mature style, the songs cover a vast range of moods and topics, from grim and ironic tragedy to fairy tales. Unlike his Wunderhorn settings for voice with piano, these are truly symphonic in scope and technique, and the composer eventually expanded several of them into symphonic movements.
- "Revelge" (Reveille). A sinister quick-step march depicts the last parade of a slain regiment--as skeletons. Scored for full orchestra without trombones, Revelge has all the fanfares, drum tattoos, woodwind trills, and snappy rhythms of any Sousa march, yet is as grim and ironic as only Mahler can be in his darkest moods. The last line of each stanza features the usually light and silly syllables "Tralali, tralaley, tralalera," but in this context they have a chilling and macabre effect.
- "Rheinlegendchen" (Rhine Legend). Here is another charming Ländler, in this case telling a fairy-tale about a golden ring tossed into the Rhine.
- "Lied des Verfolgten im Turm" (Song of the Prisoner in the Tower). A political prisoner sings of freedom, while his lover, outside the prison, mourns him in contrasting lyrical passages.
- "Wer hat dies Liedlien erdacht?" (Who Made Up This Little Song?). This is yet another comic love song, with the protagonist pining away for his love. The shortest and simplest of these songs, it is a Ländler with a yodeling vocal line always doubled in the orchestra.
- "Lob des hohen Verstandes" (In Praise of Lofty Intellect). This is an absurd and comical song in which a donkey judges the singing of two birds. In spite of its humor, it is a biting satire of human self-importance.
- "Der Schildwache Nachtlied" (The Sentry's Night-song). A sentry is killed on duty while he is distracted by dreams of his sweetheart. Mahler casts the story as a ghostly dialog between the sentry and his girl, alternating between military drums and fanfares and sustained melodic passages.
- "Wo die schönen Trompeten blasen" (Where the BeautifulTrumpets are Blowing). Mahler again used contrasting materials in this touching song about a dead soldier's ghost visiting his beloved. Muted and hushed fanfares alternate with a gentle Ländler depicting the soldier and the girl, respectively.
- "Trost im Unglück" (Solace inSorrow). Another humorous and lively dialog between two lovers, this one is more raucous and full of military orchestral effects. It is usually sung as a duet.
- "Des Antonius von Padua Fischpredigt" (Antony of Padua's Sermon to the Fish). This is a parody on the unchanging nature of human behavior. Mahler here uses perpetual motion in the orchestra to illustrate the purposeless busyness of life.
- "Verlor'ne Müh" (Wasted Effort). A young girl unsuccessfully attempts to seduce a boy in this charming and witty dialog. It is set as a Ländler and often sung as a duet.
- "Das irdische Leben" (Earthly Life). Here Mahler depicts a starving child who waits in vain for the grain to be harvested and milled. Cast as a chilling dialog between child and mother, the cruel inevitability of death is portrayed in the perpetual motion of the orchestra.
- "Der Tamboursg'sell" (The Drummer Boy). This song is based on a deserter facing execution. Once again Mahler has used a military funeral march as the means to convey the drummer boy's fear of the gallows and his sad farewell to his comrades-in-arms. This time, though, the orchestral effects are real, not imitated on the piano. The song is scored for a dark-sounding orchestra without the brighter timbred flutes, trumpets, trombones, violins or violas. In spite of the expected military musical flourishes of fanfares, drum tattoos and march rhythms the result of this unusual scoring is a tragic and bitter dirge.

- Composer: Gustav Mahler (7 July 1860 -- 18 May 1911)
- Orchestra: LondonPhilharmonic Orchestra
- Conductor: Wyn Morris
- Soloists: Geraint Evans (baritone), Janet Baker (contralto)
- Year of recording: 1966
Des Knaben Wunderhorn [The Youth's Magic Horn], song cycle for voice & piano (or orchestra), composed between 1892-1905.
00:00 - 1. Revelge
06:16 - 2. Rheinlegendchen
09:19 - 3. Lied Des Verfolgten Im Turm
13:07 - 4. Wer Hat Dies Liedlein Erdacht
15:08 - 5. Lob Des Hohen Verstandes
17:32 - 6. Der Schildwache Nachtlied
23:16 - 7. Wo Die Schönen Trompeten Blasen
29:25 - 8. Trost Im Unglück
31:45 - 9. Des Antonius Von Padua Fischpredigt
35:49 - 10. Verlor'ne Müh'
38:07 - 11. Das Irdische Leben
41:22 - 12. Der Tamboursg'sell
This collection of songs is the culmination of Mahler's many settings from Das Knaben Wunderhorn (The Young Boy's MagicHorn), a collection of German Folk Poetry. They are usually performed as a set, often also including the two later Wunderhorn songs, "Revelge" and "Der Tamboursg'sell", since their poetic origin and performance requirements are so similar. There is no cyclical connection or sequence to the songs -- they stand alone, each having its own unique affect, scoring, and conception. Representing Mahler's mature style, the songs cover a vast range of moods and topics, from grim and ironic tragedy to fairy tales. Unlike his Wunderhorn settings for voice with piano, these are truly symphonic in scope and technique, and the composer eventually expanded several of them into symphonic movements.
- "Revelge" (Reveille). A sinister quick-step march depicts the last parade of a slain regiment--as skeletons. Scored for full orchestra without trombones, Revelge has all the fanfares, drum tattoos, woodwind trills, and snappy rhythms of any Sousa march, yet is as grim and ironic as only Mahler can be in his darkest moods. The last line of each stanza features the usually light and silly syllables "Tralali, tralaley, tralalera," but in this context they have a chilling and macabre effect.
- "Rheinlegendchen" (Rhine Legend). Here is another charming Ländler, in this case telling a fairy-tale about a golden ring tossed into the Rhine.
- "Lied des Verfolgten im Turm" (Song of the Prisoner in the Tower). A political prisoner sings of freedom, while his lover, outside the prison, mourns him in contrasting lyrical passages.
- "Wer hat dies Liedlien erdacht?" (Who Made Up This Little Song?). This is yet another comic love song, with the protagonist pining away for his love. The shortest and simplest of these songs, it is a Ländler with a yodeling vocal line always doubled in the orchestra.
- "Lob des hohen Verstandes" (In Praise of Lofty Intellect). This is an absurd and comical song in which a donkey judges the singing of two birds. In spite of its humor, it is a biting satire of human self-importance.
- "Der Schildwache Nachtlied" (The Sentry's Night-song). A sentry is killed on duty while he is distracted by dreams of his sweetheart. Mahler casts the story as a ghostly dialog between the sentry and his girl, alternating between military drums and fanfares and sustained melodic passages.
- "Wo die schönen Trompeten blasen" (Where the BeautifulTrumpets are Blowing). Mahler again used contrasting materials in this touching song about a dead soldier's ghost visiting his beloved. Muted and hushed fanfares alternate with a gentle Ländler depicting the soldier and the girl, respectively.
- "Trost im Unglück" (Solace inSorrow). Another humorous and lively dialog between two lovers, this one is more raucous and full of military orchestral effects. It is usually sung as a duet.
- "Des Antonius von Padua Fischpredigt" (Antony of Padua's Sermon to the Fish). This is a parody on the unchanging nature of human behavior. Mahler here uses perpetual motion in the orchestra to illustrate the purposeless busyness of life.
- "Verlor'ne Müh" (Wasted Effort). A young girl unsuccessfully attempts to seduce a boy in this charming and witty dialog. It is set as a Ländler and often sung as a duet.
- "Das irdische Leben" (Earthly Life). Here Mahler depicts a starving child who waits in vain for the grain to be harvested and milled. Cast as a chilling dialog between child and mother, the cruel inevitability of death is portrayed in the perpetual motion of the orchestra.
- "Der Tamboursg'sell" (The Drummer Boy). This song is based on a deserter facing execution. Once again Mahler has used a military funeral march as the means to convey the drummer boy's fear of the gallows and his sad farewell to his comrades-in-arms. This time, though, the orchestral effects are real, not imitated on the piano. The song is scored for a dark-sounding orchestra without the brighter timbred flutes, trumpets, trombones, violins or violas. In spite of the expected military musical flourishes of fanfares, drum tattoos and march rhythms the result of this unusual scoring is a tragic and bitter dirge.

Husky Madonna Can't Express Himself 3 10 18 at 10 56 PM

A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is prod...

A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity.
Farinelli (Italian pronunciation: [fariˈnɛlːi]) (24 January 1705 – 16 September 1782[1]), was the stage name of Carlo Maria Michelangelo Nicola Broschi (pronounced [ˈkarlo ˈbrɔski]), celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera.[2] Farinelli has been described as having soprano vocal range and sang the highest note customary at the time, C6.
This may seem to anticipate the safe, sexless allure of 1950s teen idols like Frankie Avalon. But congress with castrati was not at all physically impossible. The effects of castration on physical development were notoriously erratic, as the Ottoman eunuchs in the Seraglio of Constantinople knew. Much depended on the timing of the operation: Boys pruned before the age of ten or so very often grew up with feminine features, smooth, hairless bodies, incipient breasts, “infantile penis” and a complete lack of sex drive. (The only castrato ever to write an autobiography, Filippo Balatri, joked that he had never married because his wife, “after loving me for a little would have started screaming at me”). But those castrated after age ten, as puberty encroached, could continue to develop physically and often sustain erections. While most Italian boys went under the knife at age eight, the operation was performed as late as age twelve.

A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity.
Farinelli (Italian pronunciation: [fariˈnɛlːi]) (24 January 1705 – 16 September 1782[1]), was the stage name of Carlo Maria Michelangelo Nicola Broschi (pronounced [ˈkarlo ˈbrɔski]), celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera.[2] Farinelli has been described as having soprano vocal range and sang the highest note customary at the time, C6.
This may seem to anticipate the safe, sexless allure of 1950s teen idols like Frankie Avalon. But congress with castrati was not at all physically impossible. The effects of castration on physical development were notoriously erratic, as the Ottoman eunuchs in the Seraglio of Constantinople knew. Much depended on the timing of the operation: Boys pruned before the age of ten or so very often grew up with feminine features, smooth, hairless bodies, incipient breasts, “infantile penis” and a complete lack of sex drive. (The only castrato ever to write an autobiography, Filippo Balatri, joked that he had never married because his wife, “after loving me for a little would have started screaming at me”). But those castrated after age ten, as puberty encroached, could continue to develop physically and often sustain erections. While most Italian boys went under the knife at age eight, the operation was performed as late as age twelve.

The Voice Russia. Juliana Strangelove. Contralto.

visit her channel https://www.youtube.com/c/julianastrangelove
Amazing performance by JulianaStrangelove. The mentors are shocked, so unusual her voice is. Yes, she is a real woman. After the performance they keep saying there's actually nothing to add, so excellent she is. They ask her why she's shaking and she says she's not used to wearing high heels as she's tall (183 cm). When Juliana hit the stage, there was only one last spot left, and her permormance closed the blind auditions of season 1 of The VoiceRussia.

7:33

My Favorite Contralto Voices: White Female Pop Singers

The Contralto female voice type is rare. Many women who possess this voice type have voice...

My Favorite Contralto Voices: White Female Pop Singers

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
Here is the third list of women who are Contralto singers/vocalist. Of course they are wonderful singers who can break down monuments with their smooth , powerful or dark tone and timbre.
This is Part 3.
A few mentions: Patti Page, JoyceBerry, Timi Yuro, Doris Day, DebbieSims, Rosemary Clooney and Toni Tennille from Captain & Tennille
(I own none of these clips, This is just a compilation of great Contralto singer/vocalists)

Contralto are not Altos!

Keyword for a Contralto: Androgynous tone throughout the entire voice, not just the lower register.
"A true Contralto experiences similar register changes as a Bass. Some of the common characteristics of the Contralto include (1) long chest register extension in the low range, (2) need for larger expansion of the pharyngeal space in the middle register in order to phonate fully, (3) a unique dark smoky color in the middle and chest registers, (4) use of chest register higher in pitch than many other voice types, (5) short middle register, (6) overly bright upper register or disconnected head voice, and (7) tongue tension in the middle and chest registers, accompanied by a thicker function of the vocal folds."

16 Year Old Contralto PROVES That Classical Voice Fach Exists

100% genetic no exceptions it's impossible to use your voice to sing anything other than what you were born with she really rings on that high B definitely a light lyric tenor voice http://www.youcansinganything.com
Donate $1 or $2 via Paypal: https://www.paypal.me/youcansinganything
Sign up for a lesson: http://www.meetme.so/youcansinganything
Snapchat: tristanparedes
Snapchat: tristanparedes
Singing Discord: https://discord.gg/yuQMWKe
https://www.facebook.com/youcansinganything
https://www.patreon.com/tristanparedes

3:28

Female Vocal Fach in Pop - Contralto

My opinion about the Contralto's Fach in pop
I don't own any of the content in these video...

Female Voice Classification - Are you a SOPRANO, MEZZO or ALTO singer?

Are you a SOPRANO, MEZZO, or ALTO? Girls can find their voice classification by doing this simple test.
NEW Website
http://verbavocal.com
Become a Patron
https://www.patreon.com/verba
Social Channels
https://www.facebook.com/verbalessons/
https://twitter.com/VerbaLessons
https://www.instagram.com/verba_vocal_technique
Other YouTube Channels
https://www.youtube.com/c/EnglishLikeANative
https://www.youtube.com/user/annatyrie

My Favorite Contralto Voices: Ladies of Soul and R&B

The Contralto female voice type is rare. Many women who possess this voice type have voices that are either Strong in the lower register, have a dark color, a heavy tone or a richer sound. Their voices are quite bigger than the other female voice types (Soprano and Mezzo-Soprano). Normally Contralto voices are underestimated or underappreciated.
The clips included are clips that break the stereotype of a CONTRALTO.
This is Part 4. Here is a list of great Contralto singers you probably missed, such as:
Alohe Jean Burke
Ruth PointerMichelleNdegeocelloEvelyn KingBrenda Russell

4:14

The Greatest Operatic Contralto/ or mezzo on record Louise Kirkby Lunn

From Cantabile-Subito
Louise Kirkby Lunn "She was born in Manchester and studied with J.H....

The Greatest Operatic Contralto/ or mezzo on record Louise Kirkby Lunn

From Cantabile-Subito
Louise Kirkby Lunn "She was born in Manchester and studied with J.H.Greenwood, afterwards with AlbertoAntonio Visetti in London. Further studies with the renowned Jacques Bouhy in Paris (Louise Homer was also a student of him). She made her early debut as Margaretha in Schumann’s Genoveva at the Drury Lane Theatre in London. Later she appeared in Délibes’ Le Roi l’a dit (!). She considered her real debut as Nora in CharlesStandford’s opera Shamus O’Brien. She also sang at the HarrisOperaTheatre and at the Carl Rosa Opera Company.
From the very beginning she loved to sing on the concert platform. After her marriage in 1899 she had planned to terminate her career, but in 1901 she continued singing and signed a contract with Covent Garden. She was an important member at this famous opera house until 1914 (and again in the season 1921/22). She participated in some first opera performances: Massenet’s Hérodiade, Saint-Saëns’ Hélène and Gluck’s Armide. In 1902 she was invited to the Metropolitan where she debuted as Ortrud. Within the next two years she also sang Brangäne and Amneris. She toured America in 1904 where she was heard as Kundry (first performances of the opera in English) and this role was one of her greatest achievements. She created the role of Dalila in Saint-Saëns’ opera Samson et Dalila in the first English performance at Covent Garden. Despite her great success on stage she made many concert appearances and she became even more popular on the concert platform than in opera.
She became THE great British oratorio contralto besides Dame Clara Butt. She was not only heard at the festivals of Birmingham, Sheffield and Norwich but also toured widely (USA, Australia and New Zealand). Her last opera appearance (as Amneris) took place in 1922 at Covent Garden. She continued to give concerts and recitals. At the end of her career she became a renowned singing coach."
“A singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver all the years I worked with her, and who never sang out of tune. Her Brangäne at Covent Garden, her fine acting and singing as Kundry in America, and a marvellous rendering of Isolde’s Liebestod ... are among my most cherished memories of her”
Sir Henry Wood, conductor

1:53

"Hallelujah" Alto + Soprano, a capella

Social media:
My instagram + twitter are both _inclinations_ and I also run inclinations...

Warm-ups for Mezzo/Alto

Take lessons from me or find a reputable teacher in your area!
http://www.nats.org/cgi/page.cgi/_membership.html/68877-Karmyn-Tyler-Cobb
Book A Lesson with Karmyn
https://karmyn.youcanbook.me
UPDATE - Time Code for each exercises below!
DISCLAIMER:
This is a basic vocal exercise series. It is not a beginner's exercise series.
All examples are in the soprano/alto range.
Ideally, a teacher would assess where your voice is at and give exercises accordingly. I have, however, been asked to put together a regimen of standard exercises that I use in my studio for current students. These 10 exercises are a small compilation of years of training and over 15 years of teaching voice. In particular, these exercises stem from study and guidance from my voice teacher Bill Bauer, of Dallas Texas. He is, in a word, genius!
If you are a soprano/tenor and the exercises feel high, simply go to the alto/baritone-bass exercises and begin from there. You will eventually stretch easily to your upper range. The range I recorded is modest.
To contact me, please go to: https://ktvocalstudio.com/contact/
If you would like to purchase an mp3 along with the sheet music for this basic exercise, you may do so by going here: https://ktvocalstudio.com/classes/youtube-warm-ups/
Time Code:
0:06 Bubbles
2:24 Kiu exercises
4:50 Ning
7:23 Nay
9:55 Moi
11:44 Mah
13:33 Goog
15:09 Gug
16:46 Nyea
18:07 Hung/Young
Why spend the money to take vocal lessons?
You are not only paying for the education and experience of the teacher, but the ears. A trained teacher (NOT coach) should be able to hear and assess your personal issue and lead you on a path to fix and balance your voice!
I HIGHLY recommend a NATS approved vocal teacher!
http://www.nats.org/cgi/page.cgi/find_teacher.html

Vocal Androgyny in Speech and Singing

Originally recorded in 2011 for PracticalAndrogyny.com an ambiguous gender presentation resources site.
Nat talks about how to develop a more androgynous, ambiguous or gender neutral speaking and singing voice, assuming nothing about how you identify or whether your voice has been affected by testosterone.
Accompanying blog post with video summary, links to all singers and songs featured, bonus material, additional recommended singers and links to external resources available at:
http://practicalandrogyny.com/2011/10/31/vocal-androgyny-in-speech-and-singing/
Comments are welcome at PracticalAndrogyny.com but are heavily screened and moderated - I have a zero tolerance approach to 'debates' about whether people like me exist or deserve basic respect and recognition.
Originally hosted at https://www.dailymotion.com/video/xm1iil_practical-androgyny-vocal-androgyny-in-speech-and-singing_lifestyle

26:29

My Interview with Contralto, Bonita Hyman

Yes, I did film this entire interview hand-held, which lead to some really weird angles. R...

My Interview with Contralto, Bonita Hyman

Yes, I did film this entire interview hand-held, which lead to some really weird angles. Regardless, I am still very pleased and delighted to have caught up with this amazing and warm-hearted contralto, Madame Bonita Hyman! Enjoy the interview and let me know what you think of her as well.
Please don't forget to support me on Patreon and Steemit. Thank you very much!
https://www.patreon.com/antonireviewsoperaandmanyotherstuff
https://steemit.com/@antonireviews

48:07

2015 Master Class with Dolora Zajick, Part A

The Voice Foundation's 44th Annual Symposium: Care of the Professional Voice, Master Clas...

Gustav Mahler - Des Knaben Wunderhorn

- Composer: Gustav Mahler (7 July 1860 -- 18 May 1911)
- Orchestra: LondonPhilharmonic Orchestra
- Conductor: Wyn Morris
- Soloists: Geraint Evans (baritone), Janet Baker (contralto)
- Year of recording: 1966
Des Knaben Wunderhorn [The Youth's Magic Horn], song cycle for voice & piano (or orchestra), composed between 1892-1905.
00:00 - 1. Revelge
06:16 - 2. Rheinlegendchen
09:19 - 3. Lied Des Verfolgten Im Turm
13:07 - 4. Wer Hat Dies Liedlein Erdacht
15:08 - 5. Lob Des Hohen Verstandes
17:32 - 6. Der Schildwache Nachtlied
23:16 - 7. Wo Die Schönen Trompeten Blasen
29:25 - 8. Trost Im Unglück
31:45 - 9. Des Antonius Von Padua Fischpredigt
35:49 - 10. Verlor'ne Müh'
38:07 - 11. Das Irdische Leben
41:22 - 12. Der Tamboursg'sell
This collection of songs is the culmination of Mahler's many settings from Das Knaben Wunderhorn (The Young Boy's MagicHorn), a collection of German Folk Poetry. They are usually performed as a set, often also including the two later Wunderhorn songs, "Revelge" and "Der Tamboursg'sell", since their poetic origin and performance requirements are so similar. There is no cyclical connection or sequence to the songs -- they stand alone, each having its own unique affect, scoring, and conception. Representing Mahler's mature style, the songs cover a vast range of moods and topics, from grim and ironic tragedy to fairy tales. Unlike his Wunderhorn settings for voice with piano, these are truly symphonic in scope and technique, and the composer eventually expanded several of them into symphonic movements.
- "Revelge" (Reveille). A sinister quick-step march depicts the last parade of a slain regiment--as skeletons. Scored for full orchestra without trombones, Revelge has all the fanfares, drum tattoos, woodwind trills, and snappy rhythms of any Sousa march, yet is as grim and ironic as only Mahler can be in his darkest moods. The last line of each stanza features the usually light and silly syllables "Tralali, tralaley, tralalera," but in this context they have a chilling and macabre effect.
- "Rheinlegendchen" (Rhine Legend). Here is another charming Ländler, in this case telling a fairy-tale about a golden ring tossed into the Rhine.
- "Lied des Verfolgten im Turm" (Song of the Prisoner in the Tower). A political prisoner sings of freedom, while his lover, outside the prison, mourns him in contrasting lyrical passages.
- "Wer hat dies Liedlien erdacht?" (Who Made Up This Little Song?). This is yet another comic love song, with the protagonist pining away for his love. The shortest and simplest of these songs, it is a Ländler with a yodeling vocal line always doubled in the orchestra.
- "Lob des hohen Verstandes" (In Praise of Lofty Intellect). This is an absurd and comical song in which a donkey judges the singing of two birds. In spite of its humor, it is a biting satire of human self-importance.
- "Der Schildwache Nachtlied" (The Sentry's Night-song). A sentry is killed on duty while he is distracted by dreams of his sweetheart. Mahler casts the story as a ghostly dialog between the sentry and his girl, alternating between military drums and fanfares and sustained melodic passages.
- "Wo die schönen Trompeten blasen" (Where the BeautifulTrumpets are Blowing). Mahler again used contrasting materials in this touching song about a dead soldier's ghost visiting his beloved. Muted and hushed fanfares alternate with a gentle Ländler depicting the soldier and the girl, respectively.
- "Trost im Unglück" (Solace inSorrow). Another humorous and lively dialog between two lovers, this one is more raucous and full of military orchestral effects. It is usually sung as a duet.
- "Des Antonius von Padua Fischpredigt" (Antony of Padua's Sermon to the Fish). This is a parody on the unchanging nature of human behavior. Mahler here uses perpetual motion in the orchestra to illustrate the purposeless busyness of life.
- "Verlor'ne Müh" (Wasted Effort). A young girl unsuccessfully attempts to seduce a boy in this charming and witty dialog. It is set as a Ländler and often sung as a duet.
- "Das irdische Leben" (Earthly Life). Here Mahler depicts a starving child who waits in vain for the grain to be harvested and milled. Cast as a chilling dialog between child and mother, the cruel inevitability of death is portrayed in the perpetual motion of the orchestra.
- "Der Tamboursg'sell" (The Drummer Boy). This song is based on a deserter facing execution. Once again Mahler has used a military funeral march as the means to convey the drummer boy's fear of the gallows and his sad farewell to his comrades-in-arms. This time, though, the orchestral effects are real, not imitated on the piano. The song is scored for a dark-sounding orchestra without the brighter timbred flutes, trumpets, trombones, violins or violas. In spite of the expected military musical flourishes of fanfares, drum tattoos and march rhythms the result of this unusual scoring is a tragic and bitter dirge.

Husky Madonna Can't Express Himself 3 10 18 at 10 56 PM

A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity.
Farinelli (Italian pronunciation: [fariˈnɛlːi]) (24 January 1705 – 16 September 1782[1]), was the stage name of Carlo Maria Michelangelo Nicola Broschi (pronounced [ˈkarlo ˈbrɔski]), celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera.[2] Farinelli has been described as having soprano vocal range and sang the highest note customary at the time, C6.
This may seem to anticipate the safe, sexless allure of 1950s teen idols like Frankie Avalon. But congress with castrati was not at all physically impossible. The effects of castration on physical development were notoriously erratic, as the Ottoman eunuchs in the Seraglio of Constantinople knew. Much depended on the timing of the operation: Boys pruned before the age of ten or so very often grew up with feminine features, smooth, hairless bodies, incipient breasts, “infantile penis” and a complete lack of sex drive. (The only castrato ever to write an autobiography, Filippo Balatri, joked that he had never married because his wife, “after loving me for a little would have started screaming at me”). But those castrated after age ten, as puberty encroached, could continue to develop physically and often sustain erections. While most Italian boys went under the knife at age eight, the operation was performed as late as age twelve.

HANDEL ARIAS BERNADETTE GREEVY Contralto...

The Great Contralto Raisa Kotova and Vladimir Kova...

It turns out that a theory explaining how we might detect parallel universes and prediction for the end of the world was proposed and completed by physicist Stephen Hawking shortly before he died ... &nbsp; ... To communicate with others, Hawking used a speech synthesiser that allowed him to speak with a computerised voice that had an American accent ... ....

Using e-cigarettes may lead to an accumulation of fat in the liver, a study of mice exposed to the devices suggests. “The popularity of electronic cigarettes has been rapidly increasing in part because of advertisements that they are safer than conventional cigarettes ... Friedman of Charles R. Drew University of Medicine and Science in Los Angeles, California ... Circadian rhythm dysfunction is known to accelerate liver disease....

Tokyo. Japan’s embattled prime minister hit back today at critics over a favouritism and cover-up scandal that has seen his popularity plunge and loosened his iron grip on power. In a hotly awaited statement in parliament, Shinzo Abe stressed he had not ordered bureaucrats to alter documents relating to a controversial land sale as he comes under mounting pressure over the scandal ...AFP Read More ....

CAIRO (AP) — Egypt’s military says four troops and 36 Islamic militants have died in the past five days of fighting in the restive Sinai Peninsula. Monday’s statement says one officer was among the four killed army personnel ... ....

search tools

You can search using any combination of the items listed below.

A young man records a voice note. A new dating app called Waving lets you swipe right on someone based only off short voice profiles ... A young man records a voice note. A new dating app called Waving lets you swipe right on someone based only off short voice profiles ... Would you choose a romantic partner based just on their voice? ... In one study out of Tanzania, pregnant women preferred men with higher-pitched voices....

First Direct is offering UK customers a service to make payments using voice instructions without the need to open a banking app or enter a password ... Separately, Santander is piloting a range of speech-controlled services with some customers in the UK, which includes making payments using voice commands ... It goes beyond voice-controlled security, allowing customers to ask questions which involve the app collating information....

In a startling revelation, Karan disclosed that he felt like a 'lesser' person as a child because he had a feminine-sounding voice... The one that I wouldn't have changed today is that I had a very girlish voice when I was a child. I had a very squeaky voice and I used to get teased a lot.” ... A gentleman, who used to conduct public speaking classes, Mr Nazareth, told me that you are very conscious of your voice....

DirectorKaran Johar may have successfully branched out as a TV and awards show host but he was teased at school for his feminine sounding voice and even took classes to improve his baritone ... his voice....

The mural, located at the Arts Incubator in Pacoima, and designed by the teens, will have an environmental theme representing the young voice of the community ... The mural, located at the Arts Incubator in Pacoima, and designed by the teens, will have an environmental theme representing the young voice of the community ... young voice of the community....

DirectorKaran Johar may have successfully branched out as a TV and awards show host but he was teased at school for his feminine sounding voice and even took classes to improve his baritone ... The one that I wouldn't have changed today, is that I had a very girlish voice when I was a child. I had a very squeaky voice and I used to get teased a ......

FilmmakerKaran Johar who is just the head of DharmaProduction but also earned created a name for himself as award show host, chat show host and even as radio jockey was teased for his 'girlish voice' as a child.&nbsp; ... The one that I wouldn't have changed today, is that I had a very girlish voice when I was a child ... him about his voice....

Under a new program, retailers can list their products on Google Search, as well as on the GoogleExpress shopping service, and Google Assistant on mobile phones and voice devices ... Google hopes the program helps retailers capture more purchases on desktop, cell phones and smart home devices with voice search – the next frontier for e-commerce....

Under a new program, retailers can list their products on Google Search, as well as on the GoogleExpress shopping service, and Google Assistant on mobile phones and voice devices ... Google hopes the program helps retailers capture more purchases on desktop, cell phones and smart home devices with voice search – the next frontier for e-commerce ... Smartvoice devices like AmazonEcho and Google Home will be installed in 55 percent of U.S....

Under a new program, retailers can list their products on Google Search, as well as on the GoogleExpress shopping service, and Google Assistant on mobile phones and voice devices ... Google hopes the program helps retailers capture more purchases on desktop, cell phones and smart home devices with voice search – the next frontier for e-commerce ... Smartvoice devices like AmazonEcho and Google Home will be installed in 55 percent of U.S....

Under a new program, retailers can list their products on Google Search, as well as on the GoogleExpress shopping service, and Google Assistant on mobile phones and voice devices ... Google hopes the program helps retailers capture more purchases on desktop, cell phones and smart home devices with voice search - the next frontier for e-commerce ... Smartvoice devices like AmazonEcho and Google Home will be installed in 55 percent of U.S....

Under a new program, retailers can list their products on Google Search, as well as on the GoogleExpress shopping service, and Google Assistant on mobile phones and voice devices ... Google hopes the program helps retailers capture more purchases on desktop, cell phones and smart home devices with voice search - the next frontier for e-commerce ... Smartvoice devices like AmazonEcho and Google Home will be installed in 55 percent of U.S....